Thesis (Ph. D.)--Johns Hopkins University, Baltimore, 1980. / Includes bibliographical references (p. 144-230).

Thesis (Ph. D.)--University of Chicago, Dept of Comparative Literature, June 2000. / Includes bibliographical references. Also available on the Internet.

This thesis focuses on economic relations between the Third Reich and Yugoslavia before the German attack in April 1941. It questions the conventional wisdom, according to which economic relations served mainly as a tool of German foreign policy towards Yugoslavia. Instead, it aims to place mutual economic relations within both the broader context of the German economic and financial plans and policies in the 1930s, and within the already existing economic and trading ties between the two countries, as they had been developing since the 1920s. Before 1936, economic relations between Yugoslavia and Germany are observed from the context of the polycratic character of the Third Reich’s executive, which enabled various economic policies, pursued by different levels of authority such as the Foreign Ministry, Economic Ministry, Food and Agriculture Ministry, the Reichsbank, etc. to exist alongside each other. After 1936, Yugoslav-German economic relations increasingly functioned within the framework of the German Four-Year-Plan. Yugoslavia’s mineral riches were of importance for German rearmament and, particularly after the Anschluss and the creation of the Bohemian Protectorate, Yugoslavia found itself increasingly dependent on trade with Germany. At the same time, the German market and exports were necessary for the process of Yugoslavia’s industrialisation, which had gathered momentum since the mid-1930s. This was however in many aspects inconsistent with the German long-term imperialist ambitions in South-Eastern Europe. This dissertation concludes that German economic policy towards Yugoslavia failed. Also, that contrary to the traditional view in historiography and despite its economic dependency on Germany, Yugoslavia maintained its political agency. It was international political developments beyond Yugoslavia’s control which eventually decreased Belgrade’s political maneuverability and forced the government in Belgrade to become more receptive towards German demands, particularly after the fall of France in June 1940.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017. / Submitted by Gabriela Lima (gabrieladaduch@gmail.com) on 2017-12-01T14:37:45Z No. of bitstreams: 1 2017_EtelNúciaOliveiraMonteiro.pdf: 10819768 bytes, checksum: 907cba10d8326483cc0cab797a7d28b9 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-01-31T17:53:46Z (GMT) No. of bitstreams: 1 2017_EtelNúciaOliveiraMonteiro.pdf: 10819768 bytes, checksum: 907cba10d8326483cc0cab797a7d28b9 (MD5) / Made available in DSpace on 2018-01-31T17:53:46Z (GMT). No. of bitstreams: 1 2017_EtelNúciaOliveiraMonteiro.pdf: 10819768 bytes, checksum: 907cba10d8326483cc0cab797a7d28b9 (MD5) Previous issue date: 2018-01-31 / Este trabalho traz uma proposta de leitura da peça Jacques et son maître, do autor Milan Kundera, em diálogo com seus romances. Esse texto dramático está intrinsicamente ligado à estética dos romances kunderianos e é uma homenagem ao romance de Denis Diderot, Jacques, o fatalista, e seu amo e à técnica da variação. A minha investigação é nominada de arqueologia pela atividade de “escavar” o texto e de se “debruçar” sobre seus elementos textuais e estéticos. A instrumentalização é feita por meio da leitura-tradução aliada à prática do serio ludere, da Epistemologia do Romance, que reúne o ato tradutório e o olhar perspicaz com a finalidade de decompor o texto e reconstruí-lo. A análise é realizada desde o início do processo arqueológico textual pela busca dos temas presentes na peça e nos romances. Foi lida parte da fortuna crítica sobre o autor, juntamente com os textos ensaísticos do próprio Kundera – A Arte do Romance (1986), Os Testamentos traídos (1993) e A Cortina (2005), nos quais é apresentado o romancista que se mostra e reflete acerca de seu projeto estético. A peça Jacques et son maître segue a herança de Cervantes e Rabelais, em uma viagem sem fim, com divertimentos e reflexões e, sobretudo, revela que nada pode ser levado a sério, por que tudo é jogo e, assim, pelo vaudeville, um singular espírito libertino é encontrado nesta comédia. Na tradução foram consideradas as observações do autor sobre as traduções de seus romances, bem como a sua percepção de fidelidade, incluso o autotradutor que ele se tornou. Embora este trabalho nasça de uma tradução, não se pretende uma comparação de textos traduzidos, nem ter o projeto de tradução como corpus, pois traduzir foi um meio de conhecer de modo profundo o texto teatral e relacionar um dos temas encontrados com seu último romance publicado: A Festa da Insignificância e este com A Lentidão, por apontar libertinos dos séculos XVIII e XX. / This work proposes a reading of the piece Jacques et son maître, by the author Milan Kundera, in dialogue with his novels. This dramatic text is intrinsically linked to the aesthetics of the Kunderan novels and is a tribute to the romance of Denis Diderot, Jacques, the fatalist, and his master and the technique of variation. My research is called archeology by the activity of "excavating" the text and of "dwelling" on its textual and aesthetic elements. The instrumentalization is done through reading-translation allied to the practice of the serious ludere, from the Epistemology of Romance, which brings together the translatory act and the insightful eye for the purpose of breaking down the text and rebuilding it. The analysis is carried out from the beginning of the textual archaeological process through the search of the themes present in the play and in the novels. A part of the critical fortune about the author was read, along with Kundera's essayistic texts - The Art of Romance (1986), The Testaments Betrayed (1993) and The Curtain (2005), in which the novelist reflects on his aesthetic design. The play Jacques et son maître follows the legacy of Cervantes and Rabelais, in an endless journey, with amusements and reflections and, above all, reveals that nothing can be taken seriously, because everything is a game, and thus by vaudeville, a singular libertine spirit is found in this comedy. In the translation were considered the author's observations on the translations of his novels, as well as his perception of fidelity, including the auto-translator he became. Although this work is born from a translation, it is not intended to be a comparison of translated texts, nor to have the translation project as a corpus, since translating was a means of getting to know the theatrical text in depth and relating one of the themes found with his last published novel : The festival of insignificance and this with The Slowness, for pointing out libertines of the eighteenth and twentieth centuries. / Ce travail porte une proposition de lecture de la pièce Jacques et son maître, de l’auteur Milan Kundera, en dialogue avec ses romans. Ce texte dramatique est étroitement lié à l’esthétique des romans kunderians et c’est un hommage au roman de Denis Diderot, Jacques, le Fataliste, et son maître et à la technique de la variation. Mon investigation est nominée l’archéologie par son activité de fouiller le texte et se pencher sur ses éléments textuels et esthétiques. L’instrumentalisation est faite par moyen de la lecture-traduction alliée à la pratique du serio ludere, de l’Épistémologie du Roman, où se réunissent l’acte traducteur et le regard perspicace pour décomposer le texte et le reconstruire. L’analyse est réalisée dès le début du processus archéologique textuel pour la recherche des thèmes présents à la pièce et aux romans. Une part de sa fortune critique sur l’auteur a été lue avec les essais de Kundera lui-même – L’Art du Roman (1986), Les Testaments Trahis (1993) et Le Rideau (2005), de cette façon l’essayiste a présenté le romancier qui reflète à propos de son projet esthétique. La pièce Jacques et son maître suit l’héritage de Cervantes et Rabelais, ayant un voyage sans fin, le divertissement et les réflexions, et surtout dévoile que rien peut être pris au sérieux, parce que tout est un jeu, et, ainsi, à travers le vaudeville un singulier esprit libertin est rencontré dans cette comédie. Pour la traduction on a considéré les observations de l’auteur sur les traductions de ses romans, aussi bien sa perception de fidélité, ci-inclus, l’autotraducteur qu’il est devenu. Malgré que ce travail soit né d’une traduction, on ne prétend pas se faire une comparaison de textes traduits ni avoir le texte traduit comme corpus, car traduire a été un moyen pour connaître profondément le texte théâtral et rapprocher un des thèmes trouvés à son dernier roman publié : La fête de l’insignifiance et celui-ci à La Lenteur pour tracer des libertins des siècles XVIII et XX.

Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-03-13T21:33:04Z No. of bitstreams: 1 2017_RosimaraAparecidadaSilva.pdf: 1804258 bytes, checksum: 602f2012ae5a8c4d17de56eeec20a510 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-03-14T19:09:08Z (GMT) No. of bitstreams: 1 2017_RosimaraAparecidadaSilva.pdf: 1804258 bytes, checksum: 602f2012ae5a8c4d17de56eeec20a510 (MD5) / Made available in DSpace on 2018-03-14T19:09:09Z (GMT). No. of bitstreams: 1 2017_RosimaraAparecidadaSilva.pdf: 1804258 bytes, checksum: 602f2012ae5a8c4d17de56eeec20a510 (MD5) Previous issue date: 2018-03-14 / Esta tese busca pensar a memória como fundamento e fundamentação no processo criativo do escritor Milan Kundera. Como corpus de análise foram selecionados os romances: Le livre du rire et de l’oubli, L’insoutenable légèreté de l’être e L’immortalité, nos quais se pode perceber um trabalho arquitetural complexo e rico com a memória, que aparece algumas vezes como base, para a edificação da narrativa e outras, como apoio, oferecendo-lhe respaldo intertextual. A análise parte de uma conceituação da memória apresentada pelo filósofo Henri Bergson, seguida de uma leitura da teoria de Hans-Georg Gadamer sobre o jogo, para pensar a (auto)representação. A segunda parte aborda características peculiares à escrita ficcional kunderiana, ressaltando a existência de um narrador bastante estratégico e responsável por articular a narrativa. A terceira parte se divide em três subpartes: primeiramente, apresenta uma análise dos dois primeiros romances, para demostrar uma mudança significativa na postura do narrador-autor-personagem, até a escrita do terceiro, nosso objeto principal de pesquisa. Na terceira subparte é apresentada uma análise mais aprofundada do romance L’immortalité, por ser este o que melhor exemplifica o paradoxo existente entre uma criação ficcional que se fundamenta, ao mesmo tempo, na memória e em conhecimentos objetivos. / Cette thèse cherche à réflechir sur la mémoire comme fondement et justification dans le procès créatif de l’écrivain Milan Kundera. Comme corpus d’analyse, ont été choisis les romans: Le livre du rire et de l'oubli, L’insoutenable légèreté de l'être et L’immortalité, dans lesquels on peut apercevoir un travail architectural complexe et riche en relation avec la mémoire, qui apparaît quelquefois comme base, pour l’édification de la narrative et d’autres, comme appui, en lui offrant de support intertextuel. L’analyse part d’une conceptualisation de la mémoire présentée par le philosophe Henri Bergson, suivie d’une lecture de la théorie de Hans-Georg Gadamer sur le jeu, pour penser à la (auto)représentation. La deuxième partie aborde des caractéristiques particulières à l’écrite fictionnelle kunderienne, en soulignant l’existence d’un narrateur très stratégique et responsable d’articuler la narrative. La troisième partie se divise en trois sousparties: d’abord, présente une analyse des deux premiers romans, pour démontrer un changement significatif de la posture du narrateur, jusqu’à l’écrite du troisième, notre objectif principal de recherche. Dans la troisième souspartie il est présenté une analyse plus approfondie du roman L’immortalité, puisque c’est celui-ci ce qui exemplifie le mieux le paradoxe existant dans une création fictionnelle basée, en même temps, sur la mémoire et sur des connaissances objectives.

Submitted by Guimaraes Jacqueline (jacqueline.guimaraes@bce.unb.br) on 2014-03-20T14:04:21Z No. of bitstreams: 1 2013_MariaVeraliceBarroso.pdf: 1703766 bytes, checksum: 59afd56ee135b30bc5dd4e31068050ea (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-03-20T14:05:10Z (GMT) No. of bitstreams: 1 2013_MariaVeraliceBarroso.pdf: 1703766 bytes, checksum: 59afd56ee135b30bc5dd4e31068050ea (MD5) / Made available in DSpace on 2014-03-20T14:05:10Z (GMT). No. of bitstreams: 1 2013_MariaVeraliceBarroso.pdf: 1703766 bytes, checksum: 59afd56ee135b30bc5dd4e31068050ea (MD5) / A presente tese tem como proposição investigar a atuação da personagem de Don Juan na obra romanesca de Milan Kundera. Para tanto, procurou-se pelo conjunto dos textos romanescos como espaço de observação e desenvolvimento das reflexões propostas. Esta pesquisa entende que, no tempo, por Kundera, denominado “Paradoxos Terminais da Modernidade”, as personagens de Don Juan dialogam com a condição humana constrangida pela ditadura do idílio e direcionada pela atitude lírica. Com o objetivo de procurar entender de modo mais abrangente e aprofundado o teor desse diálogo, buscou-se amparar nas proposições metodológicas apesentadas pelos estudos referentes à Epistemologia do Romance. Dialogando com tais orientações e priorizando a discussão estética, inicialmente, procurou-se traçar os caminhos percorridos por Kundera até tornar-se romancista. Nessa trajetória, buscou-se destacar as influências sociais e culturais no âmbito das transformações efetuadas do poeta ao romancista. Em seguida, tentou-se construir um panorama representativo das opções realizadas pelo autor enquanto romancista, aí destacando a relevância conferida à personagem ficcional. A partir de uma abordagem epistemológica, em um segundo momento, procurou-se pelas relações estabelecidas entre os Don Juans kunderianos com aqueles do passado. O percurso histórico traçado pela pesquisa teve por intuito, melhor compreender o quadro de referências com o qual Kundera dialoga, bem como, melhor entender o sentido dessa personagem no interior dos textos romanescos do autor. Enquanto elementos caracterizadores de Don Juan e excessivamente utilizados por Kundera, o riso e o erotismo foram também aqui objetos de investigações. Nos momentos finais da tese, interligando o estético e o epistemológico, a partir de uma perspectiva hermenêutica, buscouse realizar uma análise dos textos constitutivos de Risíveis Amores. A escolha desse livro se deu em virtude de sua condição no conjunto da obra. Pois, se aqui se defende que a obra de Kundera é vista como um projeto, na mesma medida, observa-se que Risíveis Amores é a apresentação desse projeto. O presente trabalho de pesquisa compreende ainda esta obra inaugural como um tributo a Don Juan e a partir do qual é possível estabelecer um diálogo profícuo com o todo da obra romanesca de Milan Kundera. ______________________________________________________________________________________ RÉSUMÉ / La présente thèse a pour objectif d’ investiguer les actions du personnage de Don Juan dans l'oeuvre de l'écrivain Milan Kundera. Pour cela, nous avons cherché un ensemble de textes romanesques comme espace d’observation et de l'élaboration de propositions de réflexions. Cette recherche est d'avis que, dans la période appelée par Kundera « Paradoxes terminaux de la modernité», les personnages de Don Juan dialoguent avec la condition humaine imposée par la dictature de l'idylle et guidée par l'attitude lyrique. Dans le but d'essayer de comprendre de manière plus complète et approfondie le contenu de ce dialogue, nous nous sommes appuyés sur les propositions méthodologiques présentées par des études à propos de l'épistémologie du Roman. En dialoguant avec telles orientations et priorisant la discussion esthétique, d'abord, nous avons cherché à retracer les chemins suivis par Kundera pour devenir un romancier. Dans cette trajectoire, nous avons cherché à mettre en évidence les influences sociales et culturelles dans le cadre de transfomations effectuées du romancier au poète. Ensuite, nous avons essayé de construire un panorama représentatif des choix faits par l'auteur en tant que romancier. À partir d'une approche épistémologique, dans un second moment, nous avons été en quête des relations établies entre les Don Juans kunderiens avec ceux du passé. Le parcours historique tracé par la recherche visait à mieux comprendre le cadre de référence avec lequel Kundera dialogue ainsi qu’à mieux comprendre la signification de ce personnage dans les textes romanesques de l'auteur. En tant qu’ éléments caractéristiques de Don Juan et trop utilisés par Kundera, le rire et l'érotisme ici ont été également des objets d'investigation . Dans les derniers moments de la thèse, en reliant l'esthétique et l’épistémologique, dans une perspective herméneutique, nous avons essayé d'effectuer une analyse des textes constitutifs de Risibles Amours. Le choix de ce livre a été fait grâce à son statut dans l'ensemble des oeuvres . Car si l'oeuvre de Kundera est considéré comme un projet, notamment Risibles Amours est la présentation de ce projet. La présente recherche comprend encore cet oeuvre inaugural comme un hommage à Don Juan et à partir duquel il est possible d'établir un dialogue fructueux avec l'ensemble de l'oeuvre de l'écrivain Milan Kundera.

This thesis discusses topic related to return to native land in three contemporary Francophonic novels. The study is founded on the paradigm described in Homer's Odyssey: mythological return of Odysseus to Ithaca is used as a base for analysis of a chosen piece of work which is Kundera's L'Ignorance, a novel of Malagasy writer Michèle Rakotoson Juillet au pays and L'Énigme du retour of Haitian novelist Dany Laferrière. The main aim of this thesis is to find out how the tradition of Homer's myth is reflected in mentioned stories of odyssey. Key words Francophone literatures, Milan Kundera, Dany Laferrière, Michèle Rakotoson, exile, identity

Since Russia´s annexation of the Crimean Peninsula, asymmetric warfare has been on the rise, and much effort has been focused on understanding and comparing this warfare to existing theories. This, however, has not been the case for the naval aspects of asymmetric warfare. Even though nations and insurgents alike use these methods it has received little focus and therefore many questions have been left unanswered.  How should naval asymmetric warfare be understood and countered? Does naval asymmetric warfare relate to existing naval theories or is it related to existing asymmetric land theories? This essay aims to answer some of these questions by using Vegos theory concerning sea control to examine asymmetric methods and their correlation to sea control in The Tanker War and the Sri Lankan civil war.  This essay concludes that asymmetric methods and it´s correlation to sea control are, to a great extent, described by Vegos theory. The methods used and level of sea control achieved conform to Vegos theory which, according to this essay, can be used to interpret asymmetric naval conflicts.

This thesis extends recent scholarly interest in the practical processes of Late Antique Roman law and on the integration of the episcopate into Roman power structures in the fourth century, the first century of imperial patronage of Christian communities. It confirms the "minimalist" model of Roman governance and provides a non-medieval example of the persecution of minorities as a contingent effect of competing claims to authority. This thesis argues that fourth-century elite Roman men disputing episcopal status via the Roman courts led to a transformation of episcopal polity, and that this development has been obscured by a subsequent paradigm shift in the norms concerning episcopal use of Roman law towards the end of that century. This paradigm shift identified by this thesis has three important aspects:1. With the change in imperial dynasty from the Valentinians to Theodosians, imperial favour moved from non-Nicene to Nicene bishops. Disparity of access to imperial favour during the fourth century required Nicene-identified bishops to invent tools to succeed in spite of their poor position. After the Theodosian-Nicene takeover, the Nicene-identified bishops retained these tools while also inheriting the legal framework that the non-Nicene bishops had crafted during their mid-century period of patronage.2. The power structures through which imperial favour was granted also changed. The typical fourth-century use of Roman law to resolve inter-episcopal disputes was different from that which would become established as a more enduring precedent in the Theodosian era. 3. The episcopal rhetoric used in claiming imperial favour changed from a focus on affirming one's own privilege to a focus on the proscription of others. The terminology of orthodox versus heretical is significant but must be understood as relational: even once heretics were proscribed by law, orthodoxy remained a status granted by the emperor. The methodology of this thesis argues for the importance of interpreting the relevant fourth-century sources in the context of their own time and norms, rather than in the light of the significantly different fifth-century practice as previous scholarship has done. This thesis first discusses two case studies before the paradigm shift: in Chapter One, Athanasius of Alexandria, as an example typical of the fourth century, and in Chapter Two, Priscillian of Avila, as an example at the cusp of the transition in the 380s who still demonstrates conformance with earlier practice. The thesis then describes the transition to the Theodosian-Nicene mode with an extended focus on Ambrose of Milan. Chapter Three shows Ambrose, contemporary with Priscillian, refusing to engage with existing episcopal legal practices and inventing a new strategy to survive the threat of Roman law. Chapter Four shows how Ambrose further refined this strategy in other conflicts and in doing so created a new place for bishops within the power structures of the Roman Empire.

This diploma thesis aims to demarcate the term "exile" and its conditions, further the thesis explores the impacts this experience has on a writer's work, especially the problem of writing in a foreign language and the character of translation. Concretely the present thesis is based on the literary work of Libuše Moníková and Milan Kundera. The first chapter examines the general research field in detail and the occurrence of related themes in the production of both authors. The following two chapters treat individual aspects of work created under the condition of exile - language and translation on the one hand, the correlations of text and history on the other. The findings of all analyses performed within this diploma thesis relate not only to the individual authors, but can be employed to specify and supplement the over-all picture of Czech literature of the second half of the 20th century, as the phenomenon of exile is essential for the understanding of this specific period. Keywords Literature in exile, Milan Kundera, Libuše Moníkové, Prague Spring, translation.